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The carved tusk depicts an equestrian figure wearing a decorative cap with two faces, one on either side. The inclusion of the two faces may be a reference to dualism, or the dual nature of life. The features on the face have clear characteristics of the Dogon style, such as the large eyes and thin flat beard along the chin. Equestrian statues are common in the Dogon culture, as the horse acts as the agent that carries the human from life into death by raising them closer to the heavens.
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The two headed figure has clear motifs of the Songye style, such as the bulging forehead, narrow eyes, jutting chin and angular posture. The janiform statue is a Nkishi power figure, used to for protection and healing. In the center of the chest, a female kifwebe mask can be seen painted with white and black kaolin. The presence of the kifwebe mask suggests that the power figure may also be used for funerary, initiation or fertility purposes as well.
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The Lega religious figure is known as the Sakimatwematwe, meaning "the man with many heads". In the Lega community, the figure represents qualities such as wisdom and discernment, allowing the owner to see all sides of an issue in order to have success in their choices. The figure is round with roughly eight faces wrapping around the spherical shape. The stout form rests upon four thick legs with carved lines signifying toes. Atop the rounded center of the figure, a plume of feathers sticks out of small portion of natural material and wrapped twine.
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The N'tomo mask pictures a young man with an elongated face and an antelope stemming from the forehead. Young men danced with the N'tomo mask during one of their initiation ceremonies, as a part of their transition into adulthood. The image of the antelope is mean to encourage skill in farming. Some other N'tomo masks depict female figures alongside the antelope to encourage a young man's success in courting as well. The mask is decorated with thinly incised lines signifying scarification patterns. The eyes of the antelope and other elements of the mask are enhanced by red beads. Cowrie shells line the prong-like shape behind the antelope.
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The commemorative, seated mother and child figure is a common archetype of feminine beauty in Kongo history. The mother sits, cross-legged with a small child across her lap. The proportions are exaggerated, as the mother figures head is enlarged in comparison to the rest of the body. Though hollow, the eyes may have had inlaid glass. Eyes made of glass would indicate the commemorative role of the sculpture, as the reflective quality of the material serves as a connection to the ancestral realm. The teeth are filed and shaped along the top and bottom lips, and the nostrils flare outwards. The elaborate coiffure atop the mothers head indicates a woman of elite status. Spanning across the figures shoulders and chest are scarification patterns carved at a high relief. The child figure is less detailed, laying on its back with its arms placed over its torso.
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Carved wooden bust of a head, still attached to the original cut of wood. The head emerges from the wood, leaning forward with wide eyes. The eyes are patinated a lighter pigment than the rest of the wood, with thin lines marking the pupils. The facial features are carved at a low relief, remaining close to the face. A horn-like shape protrudes from the top of the head along the simplified coiffure. The top of the head is concave, with a small crack and hole in the center.
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The male Nkisi figure has the recognizable "V- shaped" face of Songye design. The semi-circular eyes have high arching eyelids that reflect the downward point of the triangular mouth. Atop the head is an elaborate coiffure, with white kaolin residue, created by several vertical incised lines. Protruding from the head is a tube-like element for inserting items with medical or ritual properties. The figures arms hold the stomach, where the navel has been hollowed out. The legs are stocky and rest on a mound of wood from which the figure was carved. The Nkisi serves as a community figure, resolving conflicts, and protecting the community from harm.
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The zoomorphic Baule mask is patinated to create a dark surface. The facial features are softly carved, with a slender nose, small closed mouth and large closed eyes. Three lines wrap around the crest of the forehead, forming the coiffure. Atop the head of the mask are two large, ribbed horns angling slightly inwards at the tips. The mask may represent the Kpan Pre, which signifies the senior female in Baule ceremonies. The Kpan Pre is part of a group of masks called the Goli, which function as family.
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Standing male ancestral figure carved of wood of the Hemba style. The crossed, overlayed wood of the coiffure is recognizable of the Hemba style, along with the facial features and false beard patterning along the chin. Defined clavicles angle inwards towards the center of the chest. Below, arms rest on the abdomen on either side of a pronounced navel.
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Standing male figure with a round, porous protrusion on the abdomen. The figure is coated in a dark patina, with a stylized coiffure of raffa rope. Iron pins decorate the body and face, along with rope wrapped around the waist and neck covered in the dark patina. The face has a round forehead that reaches beyond the flatter, frontal facial plane.
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Large mask carved of wood, painted black and white with kaolin pigment. Small circular holes around the edges to attach additional elements such as raffia. The mask has incised lines on the horns and inlaid shells for the eyes. A lizard relief sculpture rests in the center of the head, at a slightly higher relief. The buffalo symbolizes strength and determination in Luba society, and the masker was to obtain those characteristics during ritual practices when wearing the mask.
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Carved male standing figure with hands holding a long, patterned beard and stylized adornment on the top of the head. The sculpture may represent an ancestral figure, or leadership figure within the Kusu society. The geometric, detailed patterning of the beard is a stylistic references to textile works, and other works of the Kusu, Luba and Hemba styles.
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A bronze zoomorphic figurative sculpture made through the lost wax technique. The vessel is comprised of a rounded base and four small holes on surface, with a long stem topped with an avian head. A cross hatched pattern wraps around the rounded base, along with decoration on the stylized avian figure.
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A darkly patinated, wooden Biombo helmet mask with two horns curving forward. The mask is decorated with geometric shapes that resemble scarification patterns. Surrounding the horns are incised lines representing a hairstyle, forming a hatched pattern. The narrow eyes and rounded lines arching over the sockets, along with the shape of the mouth and scarification are common motifs of the Biombo style.
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the large mask carved of wood, was originally worn with a long woven beard and raffia bast. This mask is Identifiable as a female kifwebe mask due to the lack of high comb extending over the center of the head, the usage of white and black kaolin, and grooved patterning on the face. The predominant use of white kaolin symbolizes purity, goodness and health, reproductive capacity, peace and wisdom. The role of the female kifwebe mask was connected to the lunar cycle and the death and investiture of chiefs.
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Standing figure with a long torso and arms resting on its side. The figure is decorated through carved patterning on the legs and head, along with beads wrapped around the waist and neck. The face is comprised of hollow, round eyes and an oval mouth, with a narrow nose at a higher relief. Metal pins are set around the head, and a small hole is present on the flat plane on the top of the head. This standing female figure may represent Nabo, one of the messengers of the deity Gale. Nabo figurines are placed in family altars as protection from hardship alongside the Seto, male figure. The scarification patterns, beads and decoration on the head are all reflective of the aesthetics of fertility figures.
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The mask is known as Mwana Ngulu, representing a domesticated pig. There is a coin on top of the head with an inscription, potentially regarding familial connection. The back of the head is full of fabric strands that are covered in other materials that remain from ceremonies. The Mwana Ngulu mask is used in coming of age rituals, or the passage into adulthood in the Chokwe society. The masker aims to portray a domesticated pig through dance; some Mwana Ngulu masks are created to have voice modifying qualities that allow the masker to sound like the animal.
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The mask is carved of wood, adorned with various elements such as an ornate coiffure, metal earrings, and carved symbols on the face. The mask is recognized as Chokwe by its half closed eyes, slender nose, hemispherical ears and facial carvings. The female Pwo, or Mwana Pwo mask was to be worn my a male masker, in a performance celebrating one's transition and initiation into adulthood. The carving on the forehead is a common motif, believed to be a cosmogram. The designs under the eyes signify tears, as the ceremony is highly emotional.
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Wooden and metal Bwoom Mask with a bulging forehead and blindfolded eyes. The mask is fitted with large nostrils for the masker to see through at a diagonal angle. A long false beard is attached to the mask, decorated in cowrie shells and beads. The Bwoom mask is worn in rituals detailing the origin myths of the Kuba Kingdom. In these rituals the Bwoom mask is accompanied by masks of the creator of the dynasty, Woot, and his spouse. Bwoom may represent either the younger brother of Woot, or a commoner within the society.
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Standing figure with a large head, ringed neck, long torso, short legs, and large feet. The head shows a stylized coiffure with hanging aluminum rings, simple facial features, and a notched nose as well as incised scarification. The upper torso shows incised scarification and arms and hands are held close to the body. The lower torso is composed of multi-protrusions simulating a dress or a costume. The figure is carved from dense hardwood, is stained, and is highly patinated. A cord with beads encircles the figure.
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Face mask with raised eyebrows, small, stylized ears, and a wide-open mouth. The mask displays extensive incised scarification on the forehead and cheeks. The entire mask is coated with an encrusted patina and the areas around the eyes show discolored white kaolin.
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Flat-panel mask with a raised upper section showing a carved v-shaped coiffure, incised reverse V-shaped eyes, and a wide nose. The lower section of the panel shows an incised small horizontal mouth. The mask which was hung in a shrine is painted with dark red and black areas of pigment. There are also traces of white paint.
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A cult figure is composed of a head, torso, and flared base. The heart-shaped face has simple features including coffee-bean-shaped eyes, a long nose, and a simple horizontal mouth. The figure is carved from a light semi-hardwood and is coated with a mixture of white kaolin and palm oil.
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Face mask with domed forehead carved beard, coffee-bean-shaped eyes, prominent cheekbones, long nose, and open pursed mouth. The exterior of the mask is coated with a brown/gray patina which is encrusted. The interior is polished and patinated.